9th Corner take no prisoners with their no nonsense release Stranger Than Fiction. Here is a collection of eleven tracks of rap rock throwback tracks. On opening track Platinum lead singer Jimmy Charlton sets the tone the the lyrical content by inanely repeating “Get up, stand up, everybody” and screaming. After a few tracks of Stranger Than Fiction it seems that the album is a well produced product that throws back to a genre few regret fading away. Sounding more like Limp Bizkit than Rage Against The Machine, 9th Corner falters in its lack of ambition to step outside of its obvious influences and do something of its own. Big problem with the album is that the vocal style is not matched with intense lyrics, but forced lines that are repeated over and over to try to give them some weight. This being said, the band is talented and the vocalist is not without his merits. If the band started to diversify their act they would have a fighting chance in becoming more than a band that appeals only within their genre. Looking back at the career of a band like The Deftones, you can hear that a lot of great bands start in this place of hero worship and eventually carve out their own space.
Justin Scro    

This recording as a new release seems to be about a decade behind. The sound and artist delivery is very reminiscent of the early 90’s rap/hip hop scene. It wouldn’t hold up as a mainstream album, but as an independent attempt it’s not bad. The sequencing is good and the attempt of adding instrument sounds you don’t normally hear in rap is kind of refreshing. The music is very good and very complex for a work like this.

Lyrically, I like the fact it is clean. I didn’t pick up on a single expletive, but I can’t guarantee that there aren’t any. The downfall lyrically is that some tracks get really repetitive and monotonous. You hear the same phrase over and over and over. In this recording it’s obvious the artist was trying to find his own niche in the rap world by being different than other artists. Using new sounds was a good idea, but singing was not. A couple times there is actual singing, but it’s really just not that good. The singing either needs to be taken out or contracted out to another set of vocal chords. If you’re looking for an up and coming artist to blast in your car I’d definitely recommend this album, but if you’re looking for a new young artist to compete on the main stream level, this particular one needs a lot of work before he’ll be a heavy hitter in the industry. I’ll give it 2 ½ stars with a lot of potential for future recordings to be much better.
DSW    

Ok, maybe I am jaded, but anytime I get an album with an image of forty somethings rocking out on the cover, I get an immediate reaction. Putting on Bluebeard has helped turn that jaded feeling around because ten seconds into album opener “I Don’t Know About Me” I was sold on a band that takes typical rock and does something different with it. Sounding like Interpol and early Chicago mashed up together, “I Don’t Know About Me” is catchy without being poppy and dark without being dire. I will skip over their cover of “Paint It Black”, they get a free pass. It is my favorite song of all time so it would be hard to win me over. Moving on to “How Difficult Is That?”, Bluebeard swap the amps for acoustics and set the mood for an album full of great rock anthems that avoid cliché even when they are surrounded by them. On “In The Streets Of L.A.” Bluebeard tear and stomp their way through what could have been another rock write off and turn it around with the clever vocal delivery. What satisfies me with Bluebeard is that these songs are not doing anything new, nor are they strictly standard either. What Bluebeard does is gray the lines of the genre they belong to. Like a more amped up Steely Dan, Bluebeard hit the listener based on their hooks. When examining the songs closer, they are not as simple as they seem to be. Here is a sample of the wordplay on display during “The Streets Of L.A.“…hey buddy, would you like to buy a gun? The man up in the tower’s got one just like it. You can see the kind of damage its done.” On top of the great songwriting, the production is great as well. Everything falls oddly in line, making Deluxe With Reverb a Scott Walker-ishly subversive lost album of early eighties rock.
Justin Scro    

Caesar Pink’s cleverly title EP Hymns For Agnostics And Atheists is a very interesting listen. Combining straight sounding southern rock with samples is something that I haven’t ever heard before and it works surprisingly well. On “The Amazing Tenacity Of Job And His Brethren” s continuous sample of someone saying “Oh Lord” keeps the song interesting while adding a layer to the rock song that gives it a feel as quirky as its title. The next track “In Praise Of Shadows” does not have as much luck as its straightforward nature seems a little boring and formulaic after such in interesting opening track. “So It Is” jumps from rock with a more Rusted Root jam band kind of sound. The band seems much more at home with a breezy tune such as “So It Is” and the addition of a more prominent backing role for the female vocals give it a nice touch. Standout track and album closer “Happy Endings” has the musical backing to make it memorable and the odd lyrics to drive the bands message home. While their genre is labeled Alternative and Punk, that would be a better way to describe their mindset than CPATIO’s sound.


Justin Scro    

Former Chicago drummer Danny Seriphine gathers a group of studio musicians in hopes of recapturing the flame of his former band. The first track “Something Different” stakes it’s claim hard and lets the listener know that the name of the band was just to get there foot in the door. What “Something Different” brings is a jam band flavor to the new CTA’s sound. What Seriphine has done is take the sound back to the days when Chicago were called CTA and they rocked the local Chicago bar scene with there intense and electrifying live shows. While Full Circle offers some great moments, its energy starts to wear thin as most of the tracks on the album are primarily instrumental. Covering some of his old band’s tunes don’t carry the weight without Peter Cetera and his once great work on tracks like “Make Me Smile”. Only on bonus track “25 Or 6 To 4” do the vocals make an appearance and it lifts the performance to a much greater level. While there are great moments on Full Circle, there are not enough to separate this musical event from one that would have a former member of a great band trying to make one last stab at success riding on the coattails of his own success.


Justin Scro    

Camden’s Pieces Of Places was finished right at the same time the band decided to call it quits. In music terms that means this album shouldn’t have ever seen the light of day, but a few Chicago men decided to go against the grain and form a record label and release this great collection of songs from a band that no longer existed. Those men were Ed Menacho, Chris Strong and Joe Wigdahl and Pieces Of Places was to be the flagship release from Brilliante Records. Story aside, this album is a great collection of melodic rock, shoe gaze and emo. Opening track “Tortured Youth Cutting Edge” evokes the emotional vocals of Dredj’s Gavin Haynes and the sonic wall of guitars made famous by My Bloody Valentine and Slowdive. Quick to diversify their sound, third song “Running, Breathless” exposes a quieter more controlled side of Camden. Here the band’s gentle inner workings come to the forefront as vocalist Eric Osterman drifts loosely around the edges of the music. The effect is mesmerizing, making “Running” one of the most memorable tracks on Pieces Of Places.

The track “Pieces Of Places” delivers everything that Camden could have been if they had stuck together. The sprawling eight minute epic exposes the bands electronic tendencies while still sticking with what made them work in the first place; strong vocals, great arrangements and a creative way of staying genre free while remaining friendly to as many ‘sounds’ as possible. After a final listen to “Pieces Of Places” I realize why Brilliante just had to release this album by a band that couldn’t even promote it. The music is just that good and it would have been a crime to let it drift away into oblivion. As Pieces Of Places close, it sounds like farewell fanfare for a group of artists that recorded a great album and could have recorded many more


Justin Scro    

Chris and Thomas bring an array of tunes forth on their latest release Land Of Sea. Opening gently, Chris and Thomas immediately establish themselves as the Seals and Crofts of our time. Each song on Land Of Sea has a space all its own while working as a smaller part of a big picture. “Broken Chair” is a tender epic, with the duo harmonizing over the acoustic guitars and the bare audible sound of their tapping feet. Land Of Sea is the perfect listen on any occasion. Putting in on before bed was the perfect introduction, but it was the faithful ‘crowded gym’ test that pushed my opinion of the album to its peak. In the crowded gym at peak hour, I put Land Of Sea on my iPod and was granted one of those few moments in life where everything slows down around you and you feel if anything is possible. The song “Bettin’ On The Moon” took me out of my surroundings and made me feel as if I had left the confines of my body. It is the space between the music that allows room for the listener to settle in. Sometimes acoustic music can seem repetitive and uncreative, but on Land Of Sea it is pure perfection. Much like the work of The Kings Of Convenience, Chris and Thomas understand the virtues of simplicity through two guitars and two voices. The most complicated the production get is the addition of a simple brushing of the drums or a tambourine drifting in the background.

“Don’t Hang Your Heart” is the perfect centerpiece to Land Of Sea. Here Chris and Thomas bring the mood down to a serine crawl. Subtracting one guitar and adding a well placed cello, “Don’t Hang Your Heart” is destine for a Sofia Coppola film soundtrack. As Chris and Thomas sing the words “don’t hang your heart on anything”, it is not the lyrics but the delivery that makes the tune worthy of the catalog of the late legend Nick Drake. Bringing in the running time under fifty minutes, “Horse In The Sky” brings Land Of Sea to an end on an optimistic note. With Land Of Sea, Chris and Thomas have landed themselves in the richest parts of the Americana music catalog without being too nostalgic for the past or being too ignorant of the present. Land Of Sea is the perfect balance between yesterday’s folk protests and today’s laments on a world needlessly spinning too fast.
Justin Scro    

Circus Diablo isn't quite current enough to be called fresh, but somehow this rag tag group of middle aged men have made a record that is worthy of any praise, commercial or critical, that went the way of Velvet Revolver. On opening track "Loaded", the verses are a little predictable but the choruses soar and take the listener to a nice level. The playing is technically proficient and the vocals are pretty impressive. The overall quality of "Loaded" makes for a great opener for this new band's self title debut release. Second track "So Fine" kicks everything up a notch with dueling guitars, megaphone addled vocals, and a driving rhythm that keeps the song moving. However, the movement is not exactly in the right direction. Everything about "So Fine" has an air of stale familiarity to it, but the album still has a good chance for redemption if the rest of the album continues hold the balance between throwback and revival. Track three's "Restless" is not the track to bring things back on the winning side, but it stays enough towards the middle to remain inoffensive. Being someone who went to see Motley Crue twice on their reunion tour, I know the value of 80's hair metal, yet Circus Diablo don't seem to really excel at reliving the past or coming up with something fresh, leaving them somewhere in the middle.

"Shine" aims to deliver the album's first song that hangs on the side of rock balladry. While vocalist Billy Morrison seems at home with a more melodic piece, that band seems to be on a short leash. While it is a decent song, it is not anything memorable nor is it a song that will break this albums downward trajectory since its opener "Loaded". Luckily "Red Sun Rising" arrives and delivers some of the creativity that "Loaded" offered in the beginning of the album. Here, the band gets to rock, Morrison gets to sing and scowl. It seems like the perfect balance for tightrope walkers Circus Diablo. Sorry, I had to work something in there. See, just when I make a circus metaphor, so does the band with its ringleader speech on "Commercial Break". The speech is great actually, and the album hits its absolute high point with Billy delivering the line 'military masturbation.' With this speech it seems like Morrison may be after the throats of the very audience he and Circus Diablo needs. This is a pretty ballsy move and I have to give them credit. Biting the hand that feeds is one of the truest forms of rebellion. The artist watermark is left with "Commercial Break" and the wave rolls back while the rest of the album teeters on decent but listenable. Each song tries its hardest to achieve its moment of greatness and maybe it is that supposed need to be climatic that holds Circus Diablo back because they certainly are not a write off. There is a lot of talent between these men and if they can find the audience they deserve instead of the one they are most likely to get, they might just make it.


Justin Scro    

Former Chumbawumba keyboard player and vocalist Danbert Nobacon steps out on his own with The Library Book Of The World. While the mainstream dismissed Chumbawumba for a pop novelty with their smash hit “Tubthumping” the band were much more talented and interesting than most would know, remaining underrated in the States to this day. “The Last Drop In The Glass” has Nobacon lamenting over a growing seas of guitars, banjoes and other stringed instruments. As he repeats “I hear voices”, Danbert Nobacon creates a strong wall of tension that slowly starts to crumble into a beautiful song as the bridge breaks the song and lets the tension release. Lifting the mood, “Straight Talk (Meet Frank)” lets Nobacon visit the same territory as mid-sixties pop acts such as The Zombies and early period Who. Each song on The Library Book Of The World lets Nobacon visit a different territory than the one before. Pulling both vocally and instrumentally from Tom Waits’ era Swordfishtrombones, “Rock And Roll Holy Wars” delivers a punch different than the two previous songs more approachable nature. Even though this song is a strong step in a different direction, it succeeds on every level.

“Red Mist” is a standout track on TLBOFW as it recalls the lyrical content of Nobacon’s work with Chumbawumba and gives it a spin through his new approach and style of music. Taking the themes of antiestablishment (Chumbawumba once sold a song for endorsement to General Motors and then took the money to launch a campaign against them), anarchy and their views on religion (live I saw one member dress in a nun’s habit though the whole outfit was blood red and she chugged from a Jack Daniels bottle throughout the entire set) Chumbawumba had a depth not recognized by the masses that lined up to buy “Tubthumping.” On The Library Book Of The World Nobacon establishes himself as a prominent genre hopping solo artist and brings that musical depth of his previous act and pushes it into the forefront.


Justin Scro    

For fans of Danzig’s prolific body of work, The Lost Tracks Of Danzig certainly doe not disappoint. Though two discs might be a little bulky for someone who only knows Danzig because “Mother” is on Guitar Hero II, the length is perfect for those who actually remember that there is more to this great band than there cross over hit. One of the most necessary tracks on this double disc compilation is “Come To Silver”, an acoustic track that Glenn Danzig penned for the late Johnny Cash in 1996. On “Come To Silver” Danzig shows his talents for songwriting and his ability to transcend the genre his band works within. (Also, Cash himself was a big fan of the song.) Other tracks go down more familiar territory like the an early version of “When Death Had No Name”. Sounding like a cross between a reincarnation of Jim Morrison and the soundtrack to Garth Ennis’s Preacher comics, “When Death Had No Name” is a perfect example of the early appeal of Danzig’s music. It shows how Danzig could appeal to metal, Goth and rock fans without alienating any audience.

Another great treat of this collection is that Danzig treats us to an assortment of covers the band has gathered over the years. Represented here are the eclectic taste of the band featuring songs by T-Rex, The Germs, and David Bowie. By choosing these artists, Danzig shows that the music that effects him are also by artists that refuse to let their genres dictate what they do. The biggest stand out is their version of Bowie’s “Cat People” from the film of the same name. Here Danzig lets his more ambitious Goth side creep out to the forefront before the metal edge tears the walls down. As the track explodes, it is the voice of Danzig that keeps the connection to the original strong as the music pulls into its own edgy direction. Even clocking in a combined two hours, The Lost Tracks Of Danzig is a quick journey through the vaults of one of metal’s most underrated geniuses.


Justin Scro    

Taking their mix of pop music arrangements and country sensibility, Emerson Drive’s Countrified is eleven songs that will grab fans of country and rock alike. Opening with the catchy “A Good Man”, Emerson Drive’s lyricist hopes that he will leave behind a legacy of kindness and be remembered for being ‘a good man’. The song has a nice melody, but it is the message that lets the song shine. “Testify” finds the band working more closely within the confines of roots country with bluegrass tendencies. “Real love will survive” the vocalist repeats with total conviction, giving a guiding light to the great musical groundwork laid forth by the rest of the band. “Moments” has the band taking a step in a more gentle direction with the first ballad of the album. “Moments” is a great example of Emerson Drive’s range and ability. With “Testify” Drive has the crowd on their feet and with a song like “Moments” the band has the band thinking with a heavy heart and tears in their eyes.

Bringing the mood back up after a bittersweet country tale of a life lead astray on “Moments”, “Sweet Natural Girl” gives the early album another perfect pop-country fix. “You Still Owe Me” is a jazzier number than the previous four tracks, but the lyrical content aligns it with the rest of the material here on Countrified. “You Still Owe Me” has the band proclaim that while they may have their freedom, but “baby, you still owe me”. This song is a nice example of the swagger that country music can boast that most others cannot. Emerson Drive brings down the house on a cover of the Charlie Daniel’s Band’s “The Devil Went Down To Georgia”, taking the classic and giving it a fresh breath of air and making it something all their own. Overall, Countrified is a solid listen for fans of old country, new country and rock alike.


Justin Scro    

Charles Thompson ne Black Francis aka Frank Black takes time to reflect on his post-Pixies career with 93-03. This double disc collection starts on two right feet with Black’s first post Pixies mix tape (and VH1 Classic) favorite “Los Angeles”. While still retaining the verve that made him so unique in the Pixies, Black immediately introduces us to a more serious side of his creative genius. With “Los Angeles” Black established that he would not simply try to continue the Pixies sound on his own, but that he would be venturing off into new territory of his accord. It is a tight balancing act, but fans of the Pixies will not be disappointed while those who never cared for them will also have a chance to enjoy this talented man’s work. “I Want To Live On An Abstract Plain” is familiar lyrical content for Black, but it is his tender delivery that separates it from his early career sarcasm and overly cryptic lyrics. Wisely keeping 93-03 in chronological order, this best of follows an artist growing into their skin.

“I Don’t Want To Hurt You (Every Single Time)” is a straightforward love song that’s catchy nature and repetitive chorus keep it one of the most playable tracks, but the best thing about this double disc is that there is not a song that that couldn’t be said for. “Headache” may be the most popular (and truly best) track that Black has put out on his own. In all honesty I loved this song well before I even knew who his first band was. Thanks to MTV’s long gone but still loved 120 Minutes, Frank Black received airplay for “Headache” reach twelve year olds like me across the world that were exposed to Nirvana and never looked back. Growing up to know that The Pixie were the band Nirvana looked up to in their time ties the whole affair together very nicely. But I nostalgically digress…it was a formative time.


Justin Scro    

Before Ron Burgundy’s theatrics on “yazz” flute, there was a flutist who was pioneering Jazz history with his uniqueness of sound and melodic interpretations. Universally regarded as the most accomplished flutist in jazz, Hubert Laws was able to bridge the gap between jazz and classical music. He took an instrument that has always been a dominant fixture in classical settings and placed it in a foreign jazz environment. Laws wasn’t the only jazz flutist, but he was one of the few that chose flute as his primary approach. Most jazz flutists have either been saxophonists that took up the instrument as a double (James Moody, Eric Dolphy, and Bud Shank) or flute players with a fairly jazz-specific approach to the instrument (Herbie Mann and Bobbi Humphrey), but Laws perfected his technique and sound with a demanding classical discipline. While most jazz legends played with an All-Star cast, Laws is no different. His discography is extensive, and this reissue of Afro-Classic is outstanding.

All the tracks on this album are completely different than what you would expect from a typical jazz recording. The rhythmic cadences are completely foreign and the use of unconventional sounds is more than apparent. Each song has an influence from more than just jazz or classical music, but it still seems to blend into a complementary sound that is very pleasing to the musical pallet. Laws’ playing ability is superb and his tone is tantalizing with an edge that really makes you pay attention to the tone of a flute. I wouldn’t recommend this for the casual listener because everything about it is complex. Track 1, 3, and 4 are complete musical journeys. Very hard to follow and sometimes the journey takes a turn I could have done without. Laws and his supporting cast systematically probe through the changes like a tax audit. There’s nothing left to chance in their sonic exploration of these arrangements. I had to listen to these tracks 3 or 4 times just to develop an understanding of the musical language being conveyed. Afro-Classics is a great compilation of music but is a little much for the common listener to appreciate. I’ll give it 4 stars and highly recommend it to anyone wanting to journey through an endless array of musical twists and turns.
DSW    

Walter Meego’s front man Justin Sconza steps out on his own with his debut EP Paint By Numbers. Seeing that both Meego and Sconza are on Brilliante Records my first thought was that the release of this Ep was tied to Meego’s success, but within seconds it is obvious that Brilliante is lucky to have put out this great collection of work by Sconza. Opening with the woozy life lesson “You May Begin Now” Sconza welcomes the listener into a world alongside the work of Wall Of Voodoo and Sebastian Tellier. Part story teller, part carnival barker, Justin Sconza’s charm on Paint By Numbers is irresistible. On “A Pretty Picture” Sconza mixes Double Fantasy era John Lennon with intricacies all Sconza’s own.

As the EP progresses with the lovely “Butterflies”, Paint by Numbers starts to exist in its own space. As Sconza’s sound and voice start to grow on the listener and it pulls away on its own, leaving comparisons to Sconza’s influences fade away as we gently lift off never to return with the instrumental “A Walk In The Park”. Obviously an man with talent, this flipside of Sconza’s musical counterpart Walter Meego only makes both bodies of work more interesting as I can hear elements of his imagination at work and get a better picture for what makes up a man that is half of a great electronic outfit. “Audio/Video” is a great a short but highly amusing tune and connecting, bringing the parallel of Sconza’s world colder together. With a name like “Audio/Video” it seems like the track would be something to appear on Meego’s albums, but upon hearing it Sconza seems to be using the cold ‘audio/video’ terms to communicate something much more human. As “Our Little Secret” brings Painted By Numbers to a close, Sconza brings forth his most spare production leaving just his voice, gentle bells and tiny ambient scratchings to loom in the background. With his busy schedule with Walter Meego, one can only hope that someday Sconza will get the chance to sit down an record a full length release on his own to accompany this marvelous EP.


Justin Scro    

Folk troubadour Lee Tyler Post brings his ragged tales out into the open on Emancipate. With a deep gravelly voice, Post can dig deep, but what separates him is that he can take that low voice and let it soar when it needs to. With “Vacant” Post shows us how his realistic spirit can sometimes give way to bursts of unforeseen optimism. Singing to his wife, Post is as sincere as it gets in the music business, letting her know “I will be waiting for you”. While it is not a new concept in music, it is the intensity that Post brings to “Vacant” that keeps it fresh and entertaining. On “Comfort Street” Post is more relaxed than normal and lets the music hang in the back while his voice takes the song to delicate heights. It is Post’s voice and storytelling abilities that keep Emancipate from being a typical folk experience. There is no better example of what Lee Tyler Post is capable of than on “Miles From Home”. Here Post is not afraid to have an electric guitar come out of nowhere and rip into the scenery. One of the most upbeat moments on Emancipate, “Miles From Home” is the perfect mesh of folk and rock and roll. Closing Emancipate with its longest track, Post takes us through the journey of a life gone by. Again, it is Post’s storytelling and voice that prevail, making “Price You Pay” and Emancipate a emotional journey through one man’s pain and perspective.
Justin Scro    

Campagne’s smooth mix of jazz and breezy swing is an easy sell for lovers of the instrumental and vocal styles of jazz. Part of what makes Masha’s album fare so well is the wonderful playing and arrangement by collaborator Weber Iago. On opening track “Romance”, Masha introduces herself as a sultry diva with a twist of Latin flare, made all the better by the fact that Masha Campagne is Russian. This cultural mishmash makes her voice and style a unique blend all her own, separating it from her contemporaries. Something else that makes her so special is that Masha sings in her native language, leaving interpretation up to the listener. This puts more emphasis on the emotion and delivery in Campagne’s approach and forces her to create a personality out of the absence of understanding.

Choosing to dim the lights for the first time on track “For All Those Who Want Me To Visit”, Campagne stretches her legs out and takes a break from the fast pace of the rest of the album. While her beauty and charm remain, it is apparent that the more up tempo tracks suit her style and personality much better than the torch song quality of “For All Those Who Want Me To Visit”. The energy returns in a big way on the Euro-friendly “The Coconut Beat”. Here the music is light, yet jumpy. The vocals are well delivered while still maintaining a carefree stance. Throughout the entire album, Campagne’s voice is complimented by the remarkable work of Weber Iago and his band of studio musicians. Falling somewhere between samba and the undiscovered soundtrack to City Of Lost Children, Caminhos Cruzados = Crossroads is an unique experience to be had by all.


Justin Scro    

Recently losing 140 pounds, thanks to gastric bypass surgery that probably saved her life, Patti says that she feels better than ever and hopefully has added many more years for us all to continue enjoying her great musical works. Patti now in her late 50s is bound to see a new resurgence in appreciation of the music she performs thanks to a slight global shift in musical taste. Artists like Patti, Michael Buble, IL Divo, Josh Groban, and Clay Aiken have brought a new focus on overall musical quality and excellent vocals being enjoyed by all generations. Patti’s voice seems to be comfortable in any genre and any key with a range that is seemingly without boundaries but she shines brightest in a Pop/Jazz setting with big-band arrangements of the George Gershwin type classics.

The opening song of her latest CD "INTIMATE" is: Stop, Look, Listen (To Your Heart) a really solid R&B feel that is a demonstration of the beauty of her voice and the way she can glide through a melody pulling you into the emotional highs and lows. Next Island begins with Austin singing a kind of native island language (complete with clicks) as she builds into a touching love song that yearns to escape and explore each other on an island just for two. This CD brings back "Baby, Come to Me" which was a number one duet song performed by Patti Austin and James Ingram topping the U.S. charts in 1983. It is just as hot and alive in today’s market. If I Believe reminds me of an Disney Classic somehow with real hit potential.

Patti does Albums not just individual songs or groups of singles. Today, if you buy only digital downloads you will miss the overall connection that Patti builds with the listener. She sings Summer Is the Coldest Time of Year as the warmth of the season seams to make her lovers heart grow cold somehow. Then she strikes back with anger and tells him to Cry Me a River followed by sadness over her loss in Spring Can Really Hang You Up the Most smoothly connecting seasons, emotion and story line. I get the feeling that she has opened her diary for us to read as each song connects to the next like pages in her life with the song In My Life expressing the importance of the love she has and feels. This CD is an excellent song selection, arrangement, production that all becomes blended together so well that you don’t become aware of the technical aspects only the emotion and what real music is about.

The true test of a great CD is how quickly time flies by as you listen. I find myself anxious to hear the next song but then I realized it’s already over. Dang! Five Stars.
MSP    

Shock Stars surprises with a great listen on their self-titled EP. It is great to find a band these days that you can reference to the 80’s and mean Kim Wilde instead of Depeche Mode or The Cure. Part pop, part modern rock, Shock Stars opening track Driving Too Fast pulls the listener into the passenger seat and floors the gas. With slight leanings to the popular emo music of today, Shock Stars has enough of their own sound to escape that label yet they have the potential to steal its audience. The second track Strawberry Lake reveals that I am not the only one who holds Eifel 65’s Europop in the same caliber as Sgt. Peppers. The effect heavy vocals work well, but the song’s chorus definitely leaves Shock Stars in a one to one battle if they are going to be grouped with emo bands or not. The band’s greatest asset is the synth and drum machine work alongside the production value. That is not to say that the rest of the band is not talent, because everyone shines in Shock Stars, but it is the uber-pop production that separates Shock Stars from the often mentioned competition. This EP is a perfect fix for those who feel that the Killers are way too artsy. As that may appear in print, I mean that in a good way. Some of us just want to feel good and dance without having to feel like we need eyeliner or a fashion agenda.

While this EP is slightly unfocused, all the proof here points towards success for Shock Stars. They have great potential for creativity as shown on the track Medicate My Wounds. The lyrics finally seem to dig deep, the music is hard and the production shifts from poppy to edgy in one swoop. Again, the band will now garner comparisons to Linkin Park, but what is the problem in being compared to someone who has been a great success?


Justin Scro    

You remember your friend in college that always smelled like Patchouli but still got perfect grades? Remember how he used to push all is weird hippy hybrid music on you? And remember that one cd out of his thousands of recommendations that stuck and blew you away? Do you remember it being Spare Parts Brain Candy? Of course you don’t, but you soon will. Flying at the listener like Herbie Hancock’s Headhunters, Spare Parts are anything but, everything in this mix is necessity. Opening with the space funk of Sacred Land, Spare Parts waste no time with introductions. The keys are lush and dense, the bass is slapped around like Tina Turner when Ike been drinking and the vocals are crystal clear.

The standouts on Brain Candy are the instrumentals such as the near techno track Disco. Laced with the perfectly affected keys, this track elevates an already great album to an unforgettable one. At the length of an hour, Spare Parts give the listener a little bit of every flavor of jazz and funk to choose from. Their talents shine on CD, but it is clear that Spare Parts should be checked out live to really give the listener a chance to be absorbed in the music. Hey, there’s your Patchouli friend, but what’s that smell? It certainly isn’t Patchouli


Justin Scro    

Sacramento’s Tesla return with a disc of their favorite rock and roll covers. Represented here are artists such as Deep Purple, The Guess Who, The Beatles and The Rolling Stones. In an odd but understandable move, the band’s great hit of their career, a cover of the obscure Five Man Electrical Band’s “Signs” is not included. But there is a sweet version of Traffic’s “Dear Mr. Fantasy”, so all is forgiven. Tesla sound vital and well on Real To Real and their talent shines through on each of these thirteen songs (twenty-five if you get the concert only double disc). Tesla feels right at home with their bluesy nature with The Guess Who barn burning, “Hand Me Down World”. Vocalist Jeff Keith rips into the choruses with vigor and an energy that shows him still at the top of his game. On another Guitar Hero II track, Tesla do justice to the classic Thin Lizzy track, not skimping on any of the great guitar or drum work on the original track.

The first track to stray from a sound that relates directly back to Tesla’s own is their version of the Beatles “I’ve Got a Feeling”. Put a more rockin’ twist on the track pays off and makes for one of Real To Reel’s more memorable events. While all the songs here do the artists and Tesla justice, the band sticks so closely to the script of the originals that it is hard to reason why the listener would not just opt for the original. This is not the case for their take on The Temptation’s “Ball Of Confusion”, which takes the original and elevates the energy to a higher rock and roll level. Closing Real To Reel with an epic version of Traffic’s “Dear Mr. Fantasy”. Here the band are all offered a chance to shine. It is material such as this song that bring a relevancy to what Tesla is trying to do here as a younger audience might not have the proper exposure to bands like Traffic, UFO, or Uriah Heep on their own. Bring the message of these now out of the limelight bands gives Real To Real and solid and meaningful purpose.


Justin Scro    

The Gore Gore girls come out of the tradition of girls groups such as The Slits and more recently The Donnas. Here these four woman bring fourteen straightforward rock songs on Get The Gore. Opener "Fox In A Box" does little to intrigue the listener, but offers up some typical rock chops and claps. More an nostalgia act than anything else, The Gore Gore Girls do have a great appeal to fans of late seventies American punk music. As the album progresses there is little variation. "All Grown Up" is the first song to take a giant step away from the used formula and delivers one the albums best tracks. Basically a Beach Boys song, "All Grown Up" allows a more saccharine soaked version of this all female quartet show through. The lyrical content is light, but very catchy and approachable. "Pleasure Unit" takes the point of view of a person being used and turns it on its ear by saying maybe that's exactly what the used person desires. Growing on me as more listens pass, The Gore Gore Girls seem like they would be best taken in live.

"Where Evil Grows" finds The Gore Gore Girls sliding into the role left open ever since L7 broke up. Sounding more alternative then straight up rock on "Where Evil Grows", the band take themselves to another high point on the album. Pursuing there more experimental tendencies would be the best bet for these talented young women as they give the an appeal beyond there genre. Songs like "Where Evil Goes", "All Grown Up" and "You Lied to Me Before" showcase a band with a wide range of sounds which unfortunately make the other songs on Get The Gore seem pale in comparison


Justin Scro    

It only takes a moment to feel the energy coming off of The Lights "Walk On Razors". Immediately recalling the work of Echo And The Bunnyman and The Church, The Lights take the sound of The Cure and run it through an American mindset. On opener "Start It All Over" the band keeps things moving up an icy slope while vocalist Charlie Kulis pleads "Let's start it all over from the beginning". Lead guitarist Mike Do Campo delivers a tactful solo that forwards the song without seeming obligatory, while the rest of the band creates a dense atmosphere around him. Second track "Writing On The Wall" finds the band taking a step back from the fast paced world of "Walk On Razors". While "Writing On The Wall" is not a bad tune, it seems the direction The Lights where heading on the album opener seemed like a more interesting avenue to pursue. And the band does return to that route on "Calling", here The Lights evoke Bruce Springsteen. From what it seems on the album notes is that this EP was recorded in nineteen eighty seven, and while it sounds great even now, The Lights would have benefited from being around during a time period after Interpol's Turn On The Bright Lights made doom and gloom rock something that was plausible again. The Lights are a tight outfit, but the songs tend to seem like they come from a soundtrack from an eighties movie. That being said, they are good enough to have made it even though they lack a clear single, The Lights seems like they could have been big twenty years ago.


Justin Scro    

Wow, Love Kills Theory’s album cover with the Kool Aid man doesn’t do anything to prepare the listener for this collection of music, because it is far from sweet and commercial. Somewhere Ween and Frank Zappa lays Love Kills Theory. This is not to say that they are without there moments of melody, because that is one thing they are sure to include in their mix of odd vocal approaches. In Happy Suicide Jim’s album opener, “Authenticity”, vocalist Cevin Soling has odd exchanges with…himself? But it works. As the album enters it’s second track, “The Love Kills Theory” things have shifted with Soling delivering the cheeky line “We’re in love with The Love Kills Theory”. Sounding more like Gibby Haynes here than Dean Ween, the music has also taken a shift with the addition of violin and cello. Love Kills Theory would have been huge in nineteen ninety two, not to say that they do not have a chance now, but they belong side Mudhoney, Monster Magnet, Greenmine, Butthole Surfers and all the other bands that were offered mainstream success because for a short time ‘the man’ was making money off of great music from the Alternative scene.

On something goes around the band opens with a synthline worthy of Gary Numan’s catalog. Something becomes apparent on third track “Something Goes Around”. The Love Kills Theory are not a band and the cover of a cake with the title Happy Suicide Jim written above the Kool Aid man have a deeper meaning than at first glance. The Love Kills Theory are not a band; they are a cult. Nicely delivered message and it takes a listen and a second glance, but I assure you it is worth it. (Juice, suicide, Jim…Jim Jones…right? I am not too far off here am I?) Taken themselves more seriously than before, “Found” puts the music first and the ‘theory’ second, actually fueling there cause even more. The last cd I put in my iTunes that said was Unclassifiable was Scott Walker’s The Drift, and while these two works of art are planets away from each other, I respect that this band has chosen not to join a genre out of convenience.

“Region Of The Worms” marks the return of the narrative voice from “The Love Kills Theory”. This time the subject is not the band themselves, but the world around them and us. Here The Love Kills Theory have surprised again because they have done something they seemingly avoided. They have repeated themselves after setting the bar of their creativity very high. It is not “Worms” is a bad track, it is just very similar to track two. This would not be as big of a deal if each song weren’t so different from the next. It is too early for the reoccurring theme and “Worms” might have been better off in the album’s back half. After my own heart with the track “Suicide Girls” (ask my girlfriend, I had a problem). But again, the filtered megaphone voice takes precedent over Soling's more melodic offerings and it starts to really bog down this albums back half. “The Poverty Of Student Life” brings the return of the stringed instruments and Soling looses the megaphone, but not his carnival barker tone. As Happy Suicide Jim winds down many parallels to the nineties alternative movement are clear. While this band has many great songs, its weaker songs are not strong enough to compete against its great ones. It may be somewhat uneven, but at least it is an interesting enough time to warrant more than a few listens.


Justin Scro    

Chicago natives The Sapiens go after rock and roll with a different approach then the competition. With Vs The Hornet, The Sapiens have captured the energy of a live show and retained the intricacies of a produced product. The Sapiens songs are hectic, yet tightly woven. "Void" seems the likely product of a group of young men that not only understand the music of the Rolling Stones, but the energy of the soul music that made Brian, Mick and Keith get started in the first place. While "Void" is still a rock song, vocalist Evan Sears digs deep and throws his inner soul out in the open, sounding more like Little Richard on speed than Julian Casablancas or Brandon Flowers. What makes The Sapiens such an interesting listen is that the music is very now and very forward thinking yet its appeal has a broader range than most contemporary alternative bands of today. The keyboard and synth work by Matt Witt adds an amazing layer to the rock and roll ground work set by the rest of the band. Witt is allowed to coloring outside of the lines because of the breakneck work by guitarist Charlie Nader and the wrench tight rhythm section of bass guitarist Dave Veller and drummer Russ Mallard. "Dirty work tricked onto the willing, digest reality for a frown and a schilling" is an example of the lyrical integrity of vocalist Sears on the track "Every Corner". Here The Sapiens let the chorus soar with one of the catchiest melodies of Vs. The Hornet, creating an emotional 'shout it out' high point of the EP. The track "Desperate Measures" takes The Sapiens out of their fast paced comfort zone and lets them shine as they take hold of a mid-tempo piece and exhibit levels of musical maturity not heard in most young bands. The depth and playing on "Desperate Measures" combined with its restrained energy make it the standout track on Vs. The Hornet.

"You know I've got something just for you," Sears closes "Desperate Measures" with, and he and The Sapiens do with Vs. The Hornet. Check them out at: www.thesapiens.com


Justin Scro    

This tribute starts off in a gentle and warm fashion with Greg Brown and his wonderful song “Blue Car”. “Blue Car” is a great introduction to this compilation as is captures many of the themes of Larry Brown’s writing as he believed the writing and music were something that are meant to co-exist. This is on full display with the great lyrical play by Greg Brown on the album opener. ‘”Blue Cars” lyrics are a great example of what Larry Brown meant by the music and written word living side by side, “Blue Car” is both poetic and yet it is a sample of everyday life. The album burst open with Bo Ramsey and his rough and tumble account of kicking the Blues ass with “Forget You”. This song opens up another great aspect of lyrical story telling set to music. The theme is familiar, yet the subject matter is so real that it does not seem redundant.

The first female appearance of the album is the great Caroline Herring with “Song For Fay”. Herring delivers the best vocal of the album up to this point and it really drives home her lyrics about faith, hope and the everyday struggles. Repeating “I don’t know about heaven, but I put in my dollar”, Herring puts her feelings about faith right out on the table in saying she has paid her dues and the better be the great rest waiting for her ahead after her long day here on earth. The great vocal performances keep coming with the arrival of Alejandro Escovedo and his “Baby’s Got New Plans”. This song is an amazing tune driving home by the ever potent performance by Escovedo. “Baby” is a great example of how well country, rock, folk and alternative have merged over the years. Sometimes genre mixing can be suicide, but with more artists like Escovedo, the chances of success are high.

Robert Earl keen brings his trademark scowl to track ten’s “Counting On You” continuing this compilations success. Again, the dirt blows right off of this gritty but beautiful song. Each and every artist and song on this album captures a different feeling while at the same time obtaining a focus and common ground. Bringing all of these talented artists together is a perfect tribute to the Larry Brown. I am not too familiar with his work, but from what I know he loved music. From the artists gathered here on this tribute record, it tells me that Larry Brown didn’t just love music, he loved great music.


Justin Scro    

An eclectic group of musicians of all ages gather here to pay there respects to the late great June Carter Cash on Anchored In Love. From Sheryl Crow to Elvis Costello and Cashbox favorite Ralph Stanley, the disc brims with great artistry and interpretation. Sheryl Crow and Willie Nelson do a show stopping version of the Carter’s “If I Were A Carpenter”, showing how timeless a lovely tune like that is, even in this day and age. Loretta Lynn pays her homage by delivering a sweet rendition of “Wildwood Flower” while Brad Paisley keeps things light and fun with his version of “Keep On The Sunny Side”. Alternative rocker Elvis Costello takes on the albums biggest challenge by choosing to cover “Ring Of Fire”. Choosing to take the song in the direction of Carters performance more than the Johnny Cash’s version, Costello succeeds in creating something quite new and listenable. It would not be a great surprise if this version were to appear in a film or television series. Actor Billy Bob Thornton and the Peasall Sisters to a surprisingly great version of “Road To Kaintuck” with Thornton read text over the classic travelling music. The dynamic of this recording makes it a stand out on Anchored In Love.

Ralph Stanley’s rolling take on “Will The Circle Be Unbroken” gives this compilation a touch of class and wisdom that had been missing since the first track. Here Stanley does not take Carter’s music into the future, but takes it by the hand into the past from which it came. The overall integrity of Stanley’s performance make it the premier track of this tribute to June Carter Cash.


Justin Scro    

Romantic is a collection of remixes of the two great Walter Meego tracks “Romantic” and “Wanna Be A Star” with a bonus version of an acoustic original of “Romantic” called “Breaking Your Heart”. With “Romantic” as the centerpiece to this half an hour of music. Walter Meego give a great song over to two remixes with another three remixes for the equally groovy “Wanna Be Star”. After they put out “Romantic” in their own way, they first hand off “Romantic” to Flosstradamus. Flostradamus does very little to alter the song, taking some of the elements away for a more minimalist approach. Next up is the Tillander remix of “Romantic”. Here the remix is jumped up a beat and given a harder edge Euro-disco spin. Maximizing the beat and stripping the melody down to just the voice of Walter Meego vocalist Justin Sconza, Tillander manages to give the song a truly ‘request’ worthy version of “Romantic” along the lines of Fatboy Slim’s remix of Underworld’s “King Of Snake” and Royksopp’s own remix of “Remind Me”. After ten minutes of “Romantic”, the original version of “Wanna Be A Star” takes Meego out of the Robot Rock arena and put them in a more ‘electronic artist’ area of music. Sconza’s straight up vocal performance and the Air like synth break down make “Wanna Be A Star” a testament to why Meego is Chicago’s premier electronic act. Here Meego chose to remix “Wanna Be A Star” themselves on two separate tracks. First is the “Walter Sees Stars Mix” where the band take their song and give in to their most experimental tendencies. Turning “Wanna Be A Star” into a full out dance floor event, it is great to see that a band can take something of their own and view it from a different stance. The twenty eight minute extended single is a great introduction to Meego and their sound. A true testament to their artistic talent is the original acoustic version of “Romantic” called “Breaking Your Heart”. Here is the proof that electronic music is more than just machines. There is a heart to it all and here Sconza lets the door swing open just long enough to appreciate what goes into Walter Meego’s lyrics before the door swings closed again.
Justin Scro